Tag Archives | contemporary art

Ethnographic Terminalia, Chicago 2013

Image for PROMO (October 11)
“Exhibition as Residency–Art, Anthropology, Collaboration”
18-22 November 2013
Arts Incubator in Washington Park
301 E. Garfield Blvd.
Chicago, IL 60637
 
Ethnographic Terminalia is an initiative that brings artists and anthropologists together to engage in emerging research through exhibition. “Exhibition as Residency” is an interactive installation of several collaborative projects between artists and anthropologists where visitors are invited to explore what lies within and beyond disciplinary territories of art and anthropology. The performative dimension of this exhibition makes visible how collaborations can shape new communities and innovative representations of cultural practice.
 
The range of artistic and anthropological research on exhibit includes: emergent visual research methods for visualizing place, material culture and indigenous history, film, migration studies, contemporary art, natural/realist painting, fashion design, and curatorial methods.
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No Longer Art

Broken Jeff Koons Balloon Dog [credit: John Reed, Slate.com]

Broken Jeff Koons Balloon Dog [credit: John Reed, Slate.com]

The Salvage Art Institute, a New York based project started by artist Elka Krajewska, surveys, catalogues, and investigates the status and value of art objects once they succumb to the effects of decay, damage or destruction. Its mission statement reads:

Salvage Art Institute works to confront and articulate the condition of no-longer-art-material claimed as “total loss”, resulting from art damaged beyond repair, removed from art market circulation due to its total loss of value in the marketplace yet stored in art-insurance claim inventory.

A recent exhibition and roundtable assembled artworks and people to explore

a group of objects related primarily through their “total loss” status. Developed by Krajewska and GSAPP Exhibitions with the participation of AXA Art Insurance Corporation, “No Longer Art: Salvage Art Institute” engages an actuarial logic that delivers a series of curious reversals.

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Swedish Photo-ID (er, Painted ID)

AFP PHOTO / FREDRIK SAEKER

AFP PHOTO / FREDRIK SAEKER

If you happen to be a photo-realist painter, and you also happen to find yourself a resident of Sweden, you might just follow in the brushstrokes of an enterprising artist named Fredrik Saeker, who convinced the transportation authority to let him use a (photo of) a painted self-portrait on his driver’s license. But lest you get creative and try to re-imagine the visual and material conditions of your interpolation, know that his submission was only accepted because he chose a canonical guise: that of a hung-over criminal.

Read all about it at ArtDaily.Org.…

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The Material Culture of Boredom (Waiting for the Bus)

Fra Biancoshock

Fra Biancoshock

Caught at the bus stop without your smartphone or tablet? Whatever are you to do?  (An apposite aside: do people still twiddle their thumbs or has thumb typing dexterity displaced the neural connectivity previously forged through such antique pastimes??)

An Italian conceptual artist named Fra.Biancoshock has installed a solution in Milan: free sheets of bubble wrap sized according to your estimated wait time. Read all about it in this recent NPR science column by Robert Krulwich.…

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Mark Dion and the Arts and Archaeologies of Waste

Mark Dion and the Arts and Archaeologies of Waste

– William Viney

[William Viney has a PhD in cultural studies and humanities from the London Consortium, University of London. An editor for Pluto Press and Pod Academy, his current research project examines the philosophical, artistic and anthropological significance of twins.  http://williamviney.com]

An interesting debate has simmered in the humanities about the relative importance of ‘waste’ in our material and historical imagination. This post has the modest ambition of asking what some theorists of archaeology have said about waste things, about the time waste objects seem to articulate and about the narrative interpretations that seek to chart the comings and goings of things. Having done this short tour about some secondary texts, I want to then compare those statements to a work of installation art that deals explicitly with the archaeologies of waste.…

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